Based on research at the Arquivo Histórico Wanda Svevo, Gustavo Caboco Wapichana and Tipuici Manoki wondered about Indigenous absence in contemporary art archives. Researcher Marilúcia Bottallo looks at the results of this research and explores other aspects of this process.

Based on an interview with Alberto Svevo – son of Wanda Svevo, the founder of the Bienal Archive – we put together a profile of his mother from an intimate point of view.

Researcher Bruno Pinheiro revisits the emblematic installation presented by Rubem Valentim at the 14th Bienal de São Paulo, in 1977, and analyzes how the work articulates Afro-Brazilian spirituality, sacred geometry and modernist architecture, projecting a space of resistance and reflection that gains new strength with its reassembly at the 35th Bienal.

In the last stage of the program, the 36th Bienal de São Paulo seeks to discuss the intersections between art, technology, and humanity from the point of view of artists, scientists, and researchers

Mariana Leão, researcher and curator of art collections, highlights the role of artists such as Maria Leontina, Tarsila do Amaral, Prunella Clough, and Germaine Richier in their awards at the 1st Bienal de São Paulo, especially in the acquisition categories, with their works incorporated into the MAM collection and later, the MAC USP.

Rosane Muniz Rocha, a researcher in theater theory and practice, discusses the creation of the Bienal das Artes Plásticas do Teatro in 1957, which integrated theater, set design and costume design in the Bienal de São Paulo. The show, conceived by Aldo Calvo, lasted until 1973 and was a milestone for the performing arts.

Curated by Luciana Saboia, Eder Alencar, and Matheus Seco of the Plano Coletivo group, the exhibition at the Brazil Pavilion explores the relationship between nature and contemporaneity

Architect and urban planner Raíssa Armelin Lopes describes the creation of the Bienal Internacional de Arquitetura in 1973 – in the midst of the dictatorship –, the path to its birth, which includes the Exposição Internacional de Arquitetura within the Bienal de São Paulo, its objectives and contradictions.

The third Invocation of the 36th Bienal de São Paulo highlights Taarab culture and philosophy, exploring its expressions through music and poetry, while considering Taarab as a space of conjugating humanity.

Researcher Brunno Almeida Maia explores the relationship between art and fashion over the centuries.

Kleber Antonio de Oliveira Amancio, associate professor at UFRB, analyzes Sidney Amaral’s work, Gargalheira ou quem falará por nós? (2014), which reflects on power, communication and the oppression of black identities. Contemporary Afro-Brazilian art questions the historical invisibility of black people and reframes visibility as a form of resistance, challenging the centrality of the white vision in art.

Have you ever noticed how many toys are included in the works of artists? In her text for +bienal, researcher Mariane Klettenhofer highlights the invitation to play in the creation of great names in modern and contemporary art such as Picasso, Klee, Calder and Oiticica.

“Can one legitimately think of ‘archives of nows’ and ‘catalogs of happenstances’ outside of a poem? Can happenstances and nows be stored in a systematic way?” are a few questions that Bianca Mantovani, cultural administrator, curator and researcher, asks in this new text for +bienal.

Writer Natalia Borges Polesso contributes to +bienal with a short story based on the figure of the contemporary artist. Check it out!

Over 1 million people were able to visit the exhibition, which occupied the Bienal Pavilion last year and travels different cities in Brazil and the Global South in 2024